Light and Space denotes a loosely affiliated art movement related to op art, minimalism and geometric abstraction originating in Southern California in the 1960s and influenced by John McLaughlin. It is characterized by a focus on perceptual phenomena, such as light, volume and scale, and the use of materials such as glass, neon, fluorescent lights, resin and cast acrylic, often forming installations conditioned by the work's surroundings. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or by playing with light through the use of transparent, translucent or reflective materials, Light and Space artists make the spectator's experience of light and other sensory phenomena under specific conditions the focus of their work. From the movement's inception, artists were incorporating into their work the latest technologies of the Southern California-based engineering and aerospace industries to develop sensuous, light-filled objects. Turrell, who has spread the movement worldwide, summed up its philosophy in saying, "We eat light, drink it in through our skins." Artists The nature of the works was reflected in the title of the exhibition at UCLA which introduced the emerging movement in 1971: "Transparency, Reflection, Light, Space: Four Artists". The show presented the work of Peter Alexander, Larry Bell, Robert Irwin, Laddie John Dill, and Craig Kauffman. Other artists associated with the movement are Ron Cooper, Mary Corse, Fred Eversley, John McCracken, Bruce Nauman, Maria Nordman, Eric Orr, Helen Pashgian, Joe Ray, James Turrell, DeWain Valentine, Doug Wheeler and Elyn Zimmerman. A famous group of abstract color theory artists were influenced by the Light and Space Movement, notably:Frederick Spratt, Phil Sims, Anne Appleby, and David Simpson. The legacy of the Light and Space movement can be seen in the work of important contemporary artists, such as Casper Brindle, Olafur Eliasson, Brigitte Kowanz, Ann Veronica Janssens, Jennifer Steinkamp, Kaloust Guedel, Phillip K. Smith III and Gisela Colon. Themes Irwin and Turrell, for instance, investigated the phenomenon of sensory deprivation (which influenced the development of their similarly spare light works) as part of the art-and-technology program initiated by the Los Angeles County Museum of Art in 1967. Wheeler’s RM 669 (1969) comprises curved white walls encased by a floor and ceiling that seem to recede with every step one takes toward the square of light positioned on the far wall, rendering viewers unable to fix their eyes on any surface. For his series of works on